Large Plane Trees - Vincent van Gogh
Archival giclée
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Description
A powerful 1889 study of plane trees in Saint-Rémy-de-Provence, featuring the thick impasto and expressive colour palette characteristic of Van Gogh's later work.
Painted in 1889 during his stay in Saint-Rémy-de-Provence, this work depicts the street scene outside the asylum where Vincent van Gogh resided. The composition focuses on the massive trunks of plane trees that dominate the foreground, their forms rendered with thick, rhythmic brushwork that conveys a sense of physical weight and movement. The artist employs a palette dominated by ochre, gold, and deep blues, creating a contrast between the sun-drenched ground and the cool shadows cast by the foliage.
Van Gogh captures the daily activity of the street with small, gestural figures, yet the trees remain the primary subject. The application of paint is heavy, with visible impasto that gives the surface a tactile quality. The trunks are outlined in dark, expressive strokes, a technique that separates the organic forms from the surrounding architecture. This approach reflects his interest in the structural qualities of nature, moving away from purely representational depiction toward a more subjective interpretation of the scene.
The work demonstrates the artist's mature style, where colour and line function independently to build form. The repetition of the vertical tree trunks creates a rhythmic structure across the canvas, guiding the eye through the space. By focusing on the immediate environment of the asylum, Van Gogh transformed a mundane street view into a study of light and texture. The painting remains a clear example of his ability to imbue everyday subjects with a distinct visual energy through his specific handling of paint and colour theory.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Large Plane Trees - Vincent van Gogh
Artist Biography
Vincent Van Gogh
He taught himself to draw by copying prints and working through textbooks. His brother Theo, an art dealer in Paris, sent money every month for the rest of Vincent's life. Without Theo there are no paintings. The letters between them, over 600, are one of the most complete records of any artist's thinking. Van Gogh wrote about colour theory, composition, what he ate, what he read, how much he spent on paint. He was articulate and well-read and not, despite the popular version, simply mad.
He moved to Paris in 1886 and encountered Impressionism. The palette changed immediately: from the dark browns of his Dutch period to the colours people actually associate with his work. He met Gauguin, Pissarro, Signac, Toulouse-Lautrec. He absorbed Pointillism and Japanese prints. Then he moved to Arles in the south of France, where the light was better and people were fewer.
The Arles period produced Sunflowers, The Bedroom, Starry Night Over the Rhone. The breakdown followed: the argument with Gauguin, the severed ear (he cut part of his left ear, not the whole thing), the asylum at Saint-Remy, and then Auvers-sur-Oise, where he painted seventy canvases in seventy days before dying from a gunshot wound at thirty-seven. He sold one painting during his lifetime, or possibly two. Theo died six months later.
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